"Media determine our situation, which – in spite or because of it – deserves a description." Friedrich A. Killer, „Grammophon Film Typewriter“, 1986

The art of Dorit Margreiter, which, since the early 1990s, has evoked and updated salient episodes from the history of modern architecture, media culture and commodity aesthetics, seems, at first sight, to concentrate entirely on a descriptive approach to its motifs and subject matter. Architecturally framed vistas, design details, graphic surfaces, focused studies on materials, meticulous arrangements of objects, passages captured from distance and statu- esque poses of elaborately accoutred characters take the place of conventional narrative strands, dialogue and patterns of action. […] In prolonged takes, uninterrupted tracking shots and sequences that fastidiously link framed stills, the works direct the viewer’s attention to selected aspects of a situation, mostly an architectural space, which actually does look as if it were defined primarily by media, thus requiring the description Friedrich A. Kittler calls for. […]

André Rottmann, „The Artist as Topologist: Notes on the Work of Dorit Margreiter” (excerpt)